#most often than not I’ll get around a trope i like and consume a lot of said trope | Explore Tumblr Posts and Blogs

thesebookishdelights · 3 years

Text

How ‘IRON WIDOW’ by Xiran Jay Zhao changed my reading experience

I’ll be straightforward: I’m in love with ‘Iron Widow’ since *checks notes* May, when I read it, and it’s now my life’s purpose to make everyone else as in love with it as I am.

First of all, I’d like to say that I don’t usually consume media with sci-fi aspects, action, mecha suits, that kind of thing. I was a follower of Xiran and watched their videos analysing Asian (and Asian-inspired) media, such as Mulan, Avatar: The Last Airbender, Legend of Korra, Netflix’s Over The Moon etc. I also happen to find Xiran’s voice very soothing, so there’s that. So, when they mentioned that they were writing a book, I was interested, especially putting that it was polyamory and a historical reimagining. When I got around to requesting the publishers (thank you so much, Penguin Teen Canada!) for an ARC and reading it... well, it was just game changing.

I don’t think I’ll ever be able to read a book with a love triangle that doesn’t end up with all of them in love with each other again. Of course, as a polyamory person, I’d already considered that as an option and I’d already asked (more like begged, actually) for more media with this concept, but I hadn’t actually seen it until now (I am going to need Tracy Deonn to follow in Xiran’s footsteps and make BreeSelNick endgame, by the way). I had considered it an option before, but since I’d never seen it happen, I unconsciously made myself believe that such a thing wasn’t allowed. ‘Iron Widow’ was here to tell me that it doesn’t matter if it’s allowed, because you can take it. I exist, and seeing myself represented is something I can claim as mine.

Another thing this book delivered flawlessly was unhinged women. The internet keeps talking about people written by men or by women, but I’m here for something else: people written by Xiran Jay Zhao. Wu Zetian wields her rage fearlessly, she’s shady and ruthless. Her moral compass is messy. I’ve waited for a character like her my whole life, but hadn’t known it until she’d been given to me on a silver platter. No, it’s better than that: given to me on a document sent to my e-mail, then to my Kindle, like most delightful things are.

Not only did Xiran give me Wu Zetian, though, but on my Kindle silver platter, there was also Gao Yizhi and Li Shimin, her outstanding love interests. While Li Shimin fits the tormented bad boy criteria (but better, because that’s just what Xiran does, makes good things better), Gao Yizhi would fit the rich good boy one (yes, eat-the-rich-romantically trope!). But while he is kind and nice, we’re led to believe that there is something dark in him, though maybe his morals aren’t as messy as Zetian’s. Their dynamic can probably be described as Bonnie, Clyde, and their househusband. Perfection, truly.

The plot is also marvellous, including the oppression at the core of the system, how dirty the powerful people play to get what they want, as well as realistic plot twists. Something I liked, too, was the way Xiran Jay Zhao dealt with the action in the book: I’m usually not all for action-packed books, but the way Xiran did it pulled me in. It’s intense and involves a lot of emotion, something that usually lacks action scenes (one of the reasons why I don’t like them all that much).

The way trauma is handled in ‘Iron Widow’ is spectacular, too. There are all sorts of these included, from family trauma to ones caused by alcoholism (I’d disclose more on that, but I’m not sure how spoilery that would be), and it doesn’t show only the “pretty” part of it: we get to see the anger that’s so often played in a way as to make the traumatised person feel guilty and the lashing out.

Besides, ‘Iron Widow’ has everything: hate-to-love? Yup. Friends to lovers? Absolutely! Fake dating/arranged marriage? You bet! Overthrowing the government? 100% yes! That’s basically the plot of the book. Femme fatale trope where a character seduces, then kills a man? Again, that’s basically the (initial) plot. Forbidden/secret relationship? Lots of it. Morally gray characters? Basically all of them are. Fighting while injured and not 100% healthy yet? Mhm. Intense fights with giant, magic mecha suits inspired by mythology? I got you (Xiran does, actually)! Plot twists? YES! One party of the relationship finding a way to help/save their loved one from a dangerous situation that was almost impossible to do so? Yes!!!!

If all my gushing wasn’t enough for you to pre-order this book or add it on your TBR, then... get help. But fear not! Becuase I’ll definitely post more about this book! (Maybe not here on Tumblr, but I have an account on Twitter 100% dedicated to it, so...) Because I’m obsessed with it! ‘Iron Widow’ releases in NINE DAYS, on September 21st, so make sure to check it out! Or else Wu Zetian won’t come for you! And believe me, you want her to.

1K notes · View notes

idreamtofmanderleyagain · 4 years

Text

Five years ago, the women on this site who treated me like trash over loving Labyrinth and shipping Jareth/Sarah were almost always obliviously consuming Radfem propaganda, or were out and out Radfems/Terfs themselves.

They were the types of people who casually threw the word “pedophile” around against grown women who shipped an adult Sarah with Jareth, aka literally one of the most popular ships for women in fandom for 30 years.

Pretty much invariably, these women had serious sex-negative anxieties, which included a severe paranoia about any and all kink and fetish, and porn in general. I saw a lot of shocking, fear-mongering propaganda surrounding sexual expression. Pretty much invariably, their method of approach involved immediate personal shock-value attacks on anyone they perceived to be “bad.”

Today, you can look at the way some people react to other popular so-called “problematic” ships and recognize the same toxic, fear-mongering rhetoric coming from women who consider themselves regular, trans-inclusive feminists. Sometimes it even manifests in the words of very well-meaning people (including myself here), who feel the need to talk about specific issues that pertain to their own experiences of trauma and oppression.

The people who shit on Labyrinth often seem to not really be able to comprehend that the Goblin King, like the film itself, is canonically a representation of a teen girl’s psyche, a soup of fears and anxieties and desires and dreams. He’s not a literal human adult preying on a literal child, and to read the film that way seriously undermines the entire point of the film.

When I (and people of many fandoms) say “This is fiction, calm down,” I’m not just saying it’s not real so it cant hurt you and you can’t criticize me. I’m trying to call attention to what fiction actually is - artistic representations of feelings and experiences. The Goblin King is Sarah’s fiction. Therefore, he can be anything she or any woman who identifies with her wants him to be, including her lover when she’s grown and ready for such a thing.

I once took an alarming dive into Beetlejuice fandom to see what content was there (the cartoon was a favorite when I was little). Chillingly, what you’ll find is an extremely wounded fanbase, with a sharp divide between the older women who had long been shipping BJ/Lydia because of their love for the cartoon series (and whom were previously the vast majority of the Beetlejuice fandom), and a massive amount of young people riding the wave of the musical fad who had decided that the entire old school Beetlejuice fandom was populated by literal pedophiles.

I saw death threats. Suicide baiting. Constant, constant toxic discourse. It did not matter how the BJ/Lydia fandom dealt with any particular issues that would exist in their ship, in fact I’m certain that the people abusing them cared very little to even consider if they were trying to handle it at all. The only thing that mattered was that they were disgusting subhuman scum asking for abuse. If you have at any time reblogged recent Beetlejuice fan art or content from fans of the musical, you have more than likely been engaging positively with the content of someone participating in toxic fandom behavior.

Nobody is really sticking up for them, either, as far as I saw. It’s really hard to imagine how painful it must be to have such a large group of people explode into into your relatively private fandom space to tell you that you are evil, vile, and deserve constant abuse, and also you are no longer allowed into the fandom space to engage in it’s content. But I think there’s something very alarming indeed about this happening specifically to the BJ fandom, and I’ll explain why.

The pop-culture characterization of Beetlejuice, which is heavily influenced by the cartoon series to be clear, has always in my mind been a vaguely ageless being who matches with the psychological maturity of whatever age Lydia is supposed to be. He’s more or less like an imaginary friend, a manifestation of Lydia’s psyche. In fact, I would argue that i think most of us who grew up with the cartoon or it’s subsequent merchandizing before the musical ever existed probably internalized the idea as BJ and Lydia as this ageless, salt-and-pepper-shaker couple beloved by the goth community, similar to Gomez and Morticia. In each version of canon he may be a creepy ghost in the literal sense, but any adult who is capable of identifying literary tropes (even just subconciously) would read cartoon!BJ as an artistic representation of a socially awkward outcast girl’s inner world. Lydia’s darker dispositions and interests, which alienate her from most others, are freely accepted and embraced by her spooky magical friend. BJ/Lydia in the cartoon were depicted as best friends, but to my memory there was always an underlying sense that they had secret feelings for each other, which I identified easily even as a small child. In fact, their dynamic and behavior perfectly reflected the psychological development of the show’s target demographic. They are best friends who get into adventures and learning experiences together, who have delicate feelings for each other but lack any true adult romantic/sexual understanding to acknowledge those feelings, let alone pursue them.

Though I haven’t seen the Musical yet, I’ve read the wiki and I would argue that it embodies this exact same concept even more so for it’s own version of the characters, in that Beetlejuice specifically exists to help Lydia process her mother’s death.

This is not a complicated thing to recognize and comprehend whatsoever. In fact, it looks downright blatant. It’s also a clear indicator of what BJ/Lydia means to the women who have long loved it. It was a story about a spooky wierd girl being loved and accepted and understood for who she was, and it gave them a sense of solidarity. It makes perfect sense why those women would stick with those characters, and create a safe little space for themselves to and imagine their beloved characters growing and having adult lives and experiencing adult drama, in just the same ways that the women of the Labyrinth fandom do. That’s all these women were doing. And now, they can’t do it without facing intense verbal violence. That safe space is poisoned now.

Having grown up with the cartoon as one of my favorites and been around goth subculture stuff for decades, I was actually shocked and squicked at the original Beetlejuice film’s narrative once I actually saw it, because it was extremely divorced from what these two characters had evolved into for goth subculture and what they meant to me. It’s not telling the same story, and is in fact about the Maitland's specifically. In pretty much exactly the same way two different versions of Little Red Riding Hood can be extremely different from each other, the film is a different animal. While I imagine that the film version has been at the heart of a lot of this confused fear-mongering around all other versions of the characters, I would no more judge different adaptations of these characters any more than I would condemn a version of Little Red in which Red and the Wolf are best friends or lovers just because the very first iteration of LRRH was about protecting yourself from predators.

I would even argue that the people who have engaged in Anti-shipper behavior over BJ/Lydia are in intense denial over the fact that BJ being interested in Lydia, either as blatant predatory behavior a la the film or on a peer level as in the cartoon (and musical?) is an inextricable part of canon. Beetlejuice was always attracted to Lydia, and it was not always cute or amusing. Beetlejuice was not always a beloved buddy character, an in fact was originally written as a gross scumbag. That’s just what he was. Even people engaging with him now by writing OC girlfriends for him (as stand-ins for the salt-and-pepper-shaker space Lydia used to take up, because obviously that was part of the core fun of the characters), or just loving him as a character, are erasing parts of his character’s history in order to do so. They are actively refusing to be held responsible for being fans of new version of him despite the fact that he engaged in overt predatory behavior in the original film. In fact, I would venture to say that they are actively erasing the fact that Musical Beetliejuice tried to marry a teenager and as far as I’m aware, seemed to like the idea (because he’s probably a fucking figment of her imagination but go off I guess). The only reason they can have a version of this character who could be perceived as “buddy” material is because...the cartoon had an impact on our pop cultural perception of what the character and his dynamic with Lydia is.

We can have a version of the Big Bad Wolf who’s a creepy monster. We can have a version who’s sweet and lovable. We can have a version that lives in the middle. We can have a version who’s a hybrid between Red and the Wolf (a la Ruby in OUAT). All of these things can exist in the same world, and can even be loved for different reasons by the same people.

I’ve been using Beetlejuice as an example here because it’s kind of perfect for my overall point regarding the toxic ideologies in fandom right now across many different spaces, including ones for progressive and queer media, and how much so many people don’t recognize how deeply they’ve been radicalized into literalist and sex-negative radfem rhetoric, to the point where we aren’t allowed to have difficult, messy explorations of imperfect, flawed humans, and that art is never going to be 100% pure and without flaw in it’s ability to convey what it wants to convey.

This includes the rhetoric I’ve seen across the board, from She-Ra to A:TLA to Star Wars to Lovecraft Country. We don’t talk about the inherent malleable, subjective, or charmingly imperfect nature of fiction any more. Transformation and reclamation are myths in this space. Everything is in rigid categories. It is seemingly very difficult for some of these people to engage with anything that is not able to be clearly labeled as one thing or another (see the inherent transphobic and biphobic elements of the most intense rhetoric). They destroy anything they cannot filter through their ideology. When women act in a way that breaks from their narrative of womanhood (like...not having a vagina), then those women must be condemned instead of understood. Anything that challenges them or makes them uncomfortable is a mortal sin. There is an extraordinary level of both hypocrisy and repressive denial that is underlying the behavior I’m seeing now. Much like toxic Christian conservatism, these people often are discovered engaging in the same behaviors and interests that they condemn behind closed doors (or just out of sheer cognitive dissonance). As an example, one of the people who talked shit to me about Labyrinth was a huge fan of Kill La Kill, which to my knowledge was an anime about a teenage girl in like, superpowered lingere (hence why I stayed the fuck away from that shit myself). Indeed, they even allow themselves plenty of leeway for behavior far worse than they condemn others for, and create support systems for the worst of their own abusers.

Quite frankly, I’m tired. Instead of talking about theoretical problematic shit, we need to start talking about quantifiable harm. Because as far as I can tell, the most real, immediate, and quantifiable harm done because of anybody’s favorite ships or pieces of media seems to consistently be the kind that’s done to the people who experience verbal violence and abuse and manipulation and suicide baiting and death threats from the people who have a problem.

#Beetlejuice #Labyrinth #toxic fandom

398 notes · View notes

freckledbodty · 3 years

Text

Stripping Away The Bloat - The Umibe No Etranger Movie Did The Manga Dirty

I finally got around to watching the movie of Umibe no Etranger - a movie I didn’t know existed based on one of my old favourite BL mangas. And oh boy, does this adaptation reflect a painful trend in manga to anime/movie adaptations overall. Allow me a moment to rant, if you will...

TL;DR: READ THE MANGA BY THE LOVE OF GOD IT’S WONDERFUL. Also the movie is super pretty, but here’s a semi-detailed look at why it still really didn’t do the manga justice. You bet I came with receipts.

A few important notes before you start:

1. Remember this is just my opinion, and I’d love to hear other people’s point of view on the matter, whether you agree or disagree!

2. I am not fluent enough in Japanese to read the original without a translation, so my thoughts on the manga are coming from fan translations, which 100% might have affected how I view this! The anime I’m a little more sure on as I can generally tell when the subtitles have deviated, but that does mean I may have missed something/something was lost in translation that means something I say here is incorrect. I’m very sorry for this, so remember this is my view based on the media types I’ve consumed.

3. Also the manga cuttings I use are not the best quality because of tumblr’s sizing, so even more of a reason to go read the books yourself!

I’m aware I’m very late to this party, but when I saw the other day that this movie had been made, I was horrified that I hadn’t known about it sooner. I read the manga years ago, and adored it - it’s genuinely a sweet and beautifully drawn romance, and I’d highly recommend it to anyone. With that, however, the movie was a huge disappointment to me and I just need to have a moment to gush in a less than positive way.

The Pros:

Let’s get this out of the way, I’d still probably recommend this movie to anyone who likes romance anime-style movies. It’s beautifully animated. Seriously, this movie is stunning, with wonderful expressions, bright colours, and a pretty well suited soundtrack too. The animation tries to match the original art style of the manga, and frankly, I think it captures it perfectly. 10/10. Gorgeous. Watch it just for the prettiness.

I’m also a big fan of any BL/GL adaptations that get a little more into the mainstream. This movie is definitely a huge win in terms of representation, especially when the manga (on the whole) avoided the more negative tropes that the BL/GL genres have historically been known for. (More on that later...) So that’s a win, and I will take it.

The Bloat Cut:

To put it simply, this movie fell into the trap of what I call (in my head) ‘cutting out the bloat’. As a long-time anime and manga fan, who has seen countless adaptations over the years, it’s a common theme that tends to make or break an anime.

‘Cutting out the bloat’ to me means that the adaptors cut out a lot of the ‘smaller’ moments and panels that are seen in a manga. This movie was thankfully very good at following the original plot and took us through the same beats that the manga did (many adaptations don’t bother doing that at all), but they left out a lot of the extra stuff - the aforementioned ‘bloat’.

The bloat isn’t really bloat in that it is pointless, however: the problem is that these little moments and scenes are seen to be pointless by the adaptors. Again, understandable: they have a limited run time, and it’s hard to include every little tiny moment, especially when they are ones that are easily scanned passed. Some bloat cutting is necessary to make an adaptation viable at all, but sometimes, it can be hugely detrimental to the piece. Umibe no Etranger is a key example of this.

Setting:

I watched this movie without rereading the manga, and as such, I was quickly thrown off by how bad the movie was. This was one of my favourite mangas, wasn’t it? Had I really had such terrible taste? (Yes, let’s not go there, but this manga was not one of my high-school bad decisions).

The characters felt strange. Personalities did complete 180s after the time skip and did some questionable things that I couldn’t recall finding issue with when I read the manga. The two main characters felt so hot and cold that it didn’t feel like the story I remembered. Even the pacing felt off and janky at times.

After watching, I went back and reread the manga, and this is where I saw all the ‘bloat’, the little intricate moments and minor panels that were easy to overlook but made the story what it was. Here’s a few of the biggest examples I could find.

Shun:

Oh, Shun. What did they do to you?

Shun’s character was bizarre. In the first 15 minutes of the movie, he was bubbly, friendly, and even bold enough to flirt with Mio. After the time skip, he was sour, cold, and completely withdrawn from the world. I understood Mio’s confusion because after the time jump he was a completely different character.

The manga is often focused on Shun and his inner thoughts, and he’s the one who is hurt the most by the bloat cutting. For starters, he wasn’t as over-the-top friendly at the start of the manga as he was in the anime, and we’re able to see his inner thoughts and worries that cause his reservations from the first few pages we meet him. We also get more hints earlier on as to Shun’s past that explain a lot of his behaviour as a whole, as well as getting little hints as to why he’s even more negative and exhausted after the time jump.

Mio:

The biggest bloat cut out in terms of Mio is the big plot point of the phone call. For context, before leaving for the time skip, Mio promises to call Shun once he’s gotten to his new home. In the movie, this is never really brought up again, focusing on the relationship in the present, but this was a huge point to leave out. I think it was cut out because it was explained in one short scene in the manga, and therefore easily mistaken for bloat.

In the manga, it’s explained that Mio does call, but it’s Eri who answers, and there’s a very important conversation that sets up Mio’s whole character development and explains why he returns to the island set on having a relationship with Shun. Eri warns him that calling Shun, despite knowing that Shun has feelings for him, is cruel and unfair, and tells Mio he shouldn’t contact him unless he’s worked out his feelings. It’s a great scene, and a real shame to leave out when it explains firstly why Mio never called back, and secondly why he is so adamant about his feelings and love for Shun when he does finally return: because he saw Eri’s warning to mean ‘don’t come back unless you are serious’.

Relationship:

In the movie, Mio and Shun didn’t really seem to have a relationship until the drama kicked up and then it quickly seem to disappear again. Shun was extremely held back and reserved, and barely ever seemed to return Mio’s feelings (even in the scenes he was instigating) - he even totally avoided anything resembling physical contact at first.

Compare this to the manga, where there are little hints of their relationship progressing throughout the chapters. For one, Shun is never as cold and blank as he seems in the film, and when he does seem that way, the manga quickly shows a glimpse of his thoughts to explain how he’s exhausted or distracted - without those little bloated thought bubbles, he just seems... a little cruel frankly.

A really good example of this is the beach kiss scene. In the movie, as Mio is about to kiss him, Shun suddenly announces that he’s hungry and avoids the kiss altogether, leaving Mio confused.

In the manga, they actually do kiss - it’s their first kiss, in fact. Shun seems embarrassed and his ‘I’m hungry’ feels like more of a way to distract them both. He explains he’s exhausted (which is fair enough, this is a big thing for him to process on little sleep that his inner thoughts earlier in the chapter already set up) rather than just outright shunning him. (Ha. Shun. shun. Get it?)

A more *noted* bloat they cut out is that Shun and Mio get physical in the manga way earlier than the movie, the touches just not quite being everything Mio wanted. Without those more tender moments, where they actually seem like a couple, it seems like Mio is chasing after Shun desperately, whilst Shun couldn’t care less about him. It detracts from the whole relationship. Below are some examples of the two of them actually seeming like a couple that were cut from the movie, including longing looks from Shun, Shun hugging Mio whilst he’s asleep, and Shun asking to kiss and touch Mio.

The Issue:

Bloat cutting always annoys me, but usually, if it’s not hindering the story, I don’t mind. What bothers me most of all in this movie, is that without these subtle little panels and moments, the relationship between Shun and Mio seems... forced, frankly. In the movie, Shun seems to be the instigator of the flirting, and then after the time skip he acts practically disgusted, avoiding a lot of Mio’s advances, and we don’t get to hear his inner thoughts like we do in the manga to explain why he’s feeling this way.

In the manga, during these ‘bloat’ pieces, Shun is an actual willing participant in the relationship, and Mio isn’t just forcing his advances onto Shun. It’s natural. It’s not flipping between hot and cold, or suddenly ramping up after a big moment of drama, it’s slow and careful and a real relationship.

This would be a bad change in any adaptation, but it’s especially so in this one. Anyone who is a fan of BL specifically is probably aware of the genre’s bad rep historically for having some... questionable consent issues. This manga didn’t have them. The movie? I’m not so sure, and that’s why it’s rubbed me the wrong way. I could spend another 1000 words talking about this issue as a whole, but I’ll leave it there, you get the idea.

Expected? Yes. Okay? Meh.

There’s no real point to this post aside from to complain a little and point out just how much more the source material gives us. Cutting the bloat always happens, and I don’t want it to stop happening per say, that would be impossible, but I’d kill for adaptors to just take a little more time to work out what is unnecessary and cutable bloat, and what is something they should really keep in.

The movie is still cute and beautifully made, so please go watch and see for yourself! Mostly, I’d highly recommend the manga: it’s got the same gorgeous art style, only about 5 chapters long, and the story and relationship is that little bit more firmly built.

I’ll stop ranting now, and I hope this actually made sense? Anyway, congrats on making it all this way.

#umibe no etranger #bl manga #bl anime #yaoi manga #anime discussion #please note the important points #this does not mean its a bad movie by any means #just was a disappointment

67 notes · View notes

asleepinawell · 3 years

Note

How has poi changed your life? Genuinely curious, I love this show

I got this ask in May '20 and am only now answering it. :')

part of the problem with answering it is that half of the answer would be to the question of 'how has fandom changed your life' where poi is the fandom I've been the most active in and where fandom made the most difference. and that's a long story

my first draft of this was over 2k words long, and went back much further in time explaining how i had and hadn’t fit into queer spaces and fandom throughout my life. I edited it way back but it’s still long-ish, so you can read it below the break

many years ago, when I got my first full time job in my chosen industry my senior year of college I was so busy that I couldn't function. massive unhealthy amounts of overtime and a toxic work environment. (don't work at tech start-ups, kids!!!) my social life vanished. strikethrough on livejournal happened right then too and fandom, which i’d only been a silent participant in at that point, kind of went quiet for a while and by the time it started regrouping I was so busy that I didn't know about it. several awful years later I quit my job, spent several months in my room in my parents' house trying to recover from massive burn out (see my comment about tech start-ups), and then got a job on the opposite coast and left behind my whole circle of friends some of whom made up my entire connection to the queer community at that time.

making friends after college is very hard when you're an introvert and just generally don't like socializing that much. making queer friends can be even harder since there's fewer places to meet them and there's often an underlying question of dating/sex that hovers around awkwardly when sometimes what you want is just an absolutely no romo/no sex friendship. so while I did make a few queer friends eventually, I didn't have that same sort of community I did before I'd moved and I missed it

(I would be remiss in not saying that the queer friends i made in this time are all amazing and wonderful and some are still my close friends and very important to me. The thing I’m highlighting here was the lack of feeling like I was part of a larger queer community).

fast forward a bit. I get sick. like really really sick. I'm in and out of the ER, I'm missing tons of work, I'm mostly bed-ridden. I think after the last few years people can more easily appreciate how intensely lonely and surreal being stuck at home by yourself non stop can be when you're not used to it. sometime right before that I'd joined tumblr for the sole purpose of looking at cat pictures on my phone during boring meetings. I wasn't really aware that this was where fandom had migrated to (it was in fact possible to use tumblr without intersecting with fandom). but stuck home alone with time to kill I started looking for art and gifs of the tv and games I was consuming and stumbled into fandom tumblr and specifically queer femslash fandom.

I kind of poked around the territory and eventually fell into the carmilla fandom which became the first fandom I actually created content for. a few of my fics had a decent audience and while I was never part of the central core of the fandom I made some good friends there. some of y'all probably followed me back then. I eventually drifted away from carmilla for a lot of reasons I won't get into and stumbled right into poi. this would have been between seasons 4 and 5, late 2015-early 2016.

my health problems get more exciting and I end up in the hospital. I have vague memories of watching poi on my laptop in my hospital bed (vague because I was on a lot of morphine). I actually posted some fic while I was in the hospital (would have been the end of my carmilla run still).

and I get out of the hospital (early 2016) and am somewhat better but it's pretty clear that I'm going to have chronic health issues probably for the rest of my life. my social life, such as it was, was mostly dead, a lot of stuff I used to do for fun was much harder to manage. I'm still spending a ton of time at home (not even counting covid) and I have bad days where I feel terrible and can't do much. but I'll come back to that

I think most of us remember 2016. the year tv show runners fully embraced the bury your gays trope (and sometimes the fridging trope at the same time as a bonus!) and, by autostraddle's tally, 30 queer female characters in tv shows died. and then on top of that we had the actual real world tragedy of the pulse nightclub shootings. it was a massively depressing time all around for queer people

s5 of poi aired that year. I know people have different opinions on s5 of poi, and that's valid. I hated it. and I really intensely hated how it treated root and shaw. there aren't enough words to express how fucking angry I was after s5. or rather, there are 319,678 words.

I wrote a fic many of you may have read called sliding towards chaos that rewrote the entirety of poi from mid-s3 onwards. it got pretty popular lol. I put so much into writing it, too. it was basically a second full time job for me and a great way to take my mind off the fact I was still having health problems and all the crazy shit going on in the world (we had a presidential election in the US in 2016 :)))) it did not go well!)

i'm very proud of writing stc, and even if I think it isn't my strongest writing (which is good! improving over time is good!), it was what really connected me to a lot of other people in the fandom. I felt part of the fandom community in a way I hadn't with carmilla and it was an intensely queer community built around shared interests

one of the problems with finding queer friend groups out in the 'real world' is you're often gathering to meet based on the uniting factor of being queer, and your interests may vary greatly. fandom is amazing because it lets you find queer people who you share all these interests with and who you can bond with over them and collaborate with and that's just so so important. does fandom have a ton of issues and toxicity and bigotry? yes, absolutely. but it also has so much good to offer

through stc and later fics I became close friends with some really really cool people in the fandom (including my favorite writer and my favorite artist). these are people I'm still very close friends with. some of them I've hung out with offline and the ones I haven't are mostly because they live too far away. after years of not having my own queer circle of friends I have found one again and one I can usually participate in even with my health problems and that is such an important thing to me

on a creative front, the fic writing and the gif making I've done have both taught me an enormous amount and been a very positive part of my life. working collaboratively on comics has been one of the coolest things I've done. there is just so much good that came out of me seeing one shoot gif on tumblr dot com years ago and being like hmm looks gay I'm in

and in terms of the actual content of the show, I think a lot of the reason I was drawn to it (other than my lingering crush on fred from angel) was that root and shaw felt so uniquely and wonderfully queer in a way few f/f ships I'd seen had before. shaw being bi and reading as aro to me (I've talked about that here) and root being a chaotic computer nerd just felt so relatable to me and their relationship with each other made sense to me in a way that few others had. and the specific draw that they had for some fans probably has a lot to do with why I found friends in this fandom who I really clicked with

so yeah. I don't know how to sum this up. fandom can be a great way to find your people and engage your creativity and I think that's very sexy

#mp #asks #I added the read more line on mobile so I hope it actually works #personal

17 notes · View notes

hopeswriting · 3 years

Text

I meant to do a post about my thoughts on the Daily Life Arc now that I finished rereading it, but I can't seem to find the time and it's been a while now, and if I keep it up I'll forget what my thoughts are to begin with lol, so here's the long story short:

I know it's a long arc, as in it starts being boring and more or less unbearable past some point, because the "gag of the chapter" format only takes you so far, and not actually very far if Amano's humor doesn't work on you much, if at all. I don't think it's an arc you can reread right away/soon either, lest you feel that one flaw even faster.

And I felt it too, starting with the fourty-something chapters I felt like it was dragging on too much, though to be fair that probably had to do too with the fact I knew things much more interesting were coming after that.

Still, all that said, like, it's an enjoyable arc. Amano's humor happens to work on me, and she does it really well, and I liked reading the arc. There are some chapters where you're really asking yourself why they were written for lol, but even then you read it for the characters, and it somehow keeps you going.

And like, even though I think Amano could have seen the fact the comedy was going to turn repetitive and thus boring at some point, and try to diversify it or something, it's just how comedy/humor/gags works? Some jokes land and some doesn't, but for me at least a lot more of them worked than not.

The DLA is a good enough arc is what I'm saying.

------

On than note and on the contrary, of course it's fine if you think it's a bad arc, to each their opinion, but personally I really don't agree it's an unnecessary one.

I'm saying this because apparently it's not uncommon to advice new fans to skip the arc and directly start with the Kokuyo one? (Or so I learned on TV Tropes anyway, this might or might not be still relevent/accurate.)

Now don't get me wrong, the DLA does fail to hook the readers to the story for the reasons stated above, I agree with that, but it literally introduces the main character? And all the other characters, and gets us to know them, and establishes the dynamics between them and why they're the way they are, and, though only in a more or less superficial manner (and more than less) by design of the arc's purpose (not being deep in any way lol), it still gives us an insight into the characters and why they're the way they are. A glimpse into the core of their personality, the "stakes" of their characters, the flaws they have to overcome.

And all that in the context of their daily life, so if you skip it to go directly to the arc that challenges them, you can't appreciate fully how they rise to the challenge, how it shows their growth or reasserts their core values. You can't know how much or what it means, for example, off the top of my head, to have Yamamoto sacrifice his arm to beat Ken, when only a year ago he tried to kill himself over his broken arm. Or Hibari losing against Mukuro, thus telling us how much of a real threat he was. Or Tsuna screaming at Lancia for having hurt his friends, anger on his face, clearly despite himself, that Dame-Tsuna.

All these just wouldn't hit you the same, and it'd be such a shame? I mean I guess the ones who start with the Kokuyo arc go back to read the DLA, or you could compromise like the anime did by splitting the DLA between more serious arcs, but like I said I personally don't find the DLA that bad, so I still wouldn't advice it lol.

Even if, I suppose, it'd mean they might give up on the manga somewhere through the DLA, but like? Some mangas just don't speak to you, and that's fine, and it'd be a little of a shame from my POV as a KHR fan, but still, no big deal.

------

I'm still very impressed with how smoothly Amano went from a gag manga to a shonen one, and how she made it so the DLA still fits with the rest. I mean the sudden change in tone/stakes/etc is jarring, sure, but it's all based on stuff she introduced in the DLA, which she presumably came up with with no intention to ever make it something deeper/more meaningful.

It's easy to believe the foreshadowing, and generally speaking the worldbuilding was planned all along, which, again, probably not, and like? Super impressive.

(Though once more don't get me wrong, there are inconsistencies/plot holes in Amano's plotlines and worldbuilding, but not, like, at their seams, if I can say it like that? It's more often in the details, and it's fairly easy to fill in the blanks ourselves.)

------

Finally it was a lot of fun to rediscover the characters in a new light, and a bit of a disbelieving surprise tbh.

For context before I started my reread of the manga, all this time I was going with the time I read/watched it years ago plus the times I skimmed it, but mostly by all the fanon I was consuming. And it's not to say fanon is wrong per se, but it latched on one to three character's traits, or slapped an easy character archetype on them easy to "relate" to within, and apparently never looked back lol. And also often dialed up those traits (good or bad) in a very noticeable manner.

What I'm saying is, fanon is, in fact, wrong sometimes zldnslsz, and the characters are much more nuanced even in the DLA! (Which still leaves us at a more or less superficial level, because, you know lol, but still!)

------

To name the ones that stood out to me the most:

Nana isn't abused by Iemitsu, nor is she unhappy in her marriage despite Iemitsu being an absent husband (which is not relevent in the context of the DLA, but still, you can tell). She isn't an abusive mother to Tsuna either, and she is literally never an airhead. She literally just isn't, she actually does react very normally to the crazy Reborn brings with him, but much like Yamamoto as long as no one gets hurt (or walks it off), she just brushes it off.

And she has friends she goes listen to piano recitals with, and tries to save on money by eating rests, and gets in two-way arguments with Tsuna, and raises his allowance if he gets better grades to push him to work harder, and all around is just your average mom that really didn't read as just The Mom, if you know what I mean.

She has her flaws, definitely, she's not a great mom, namely is apparently used to call Tsuna Dame-Tsuna, but she's not just that.

She takes care of him, worries over him, and seems to be the only one who hasn't given up on him yet when the story starts. She supports him (though sometimes in a tactless to hurtful way), praises him when he does well, and trusts him to watch over the kids.

She's not that bad is what I'm saying, and 100% redeemable (that is, if you think she needs to be redeemed to begin with, which I actually do think she does, calling Tsuna Dame of all things is just a really shitty thing to do.)

(Though it's interesting to note that she doesn't do it again after what happened with Kyoko iirc, even if she might very well still talk to him in a belittling way at times. I just wish Amano would have commit fully to acknowledge it and resolve it, what with already having made it Kyoko's Dying Will Regret.)

(Edit: I had forgotten but she literally forgets his birthday while preparing someone else's birthday, so I take back that she is 100% redeemable because it's being too nice. But my point still stands.)

------

Haru is literally such a fun character, it makes me even more sad now to know what Amano did with her (nothing ansknslq 😭😂).

She's unhinged, has zero impulse control, does not reflect on the consequences of her lack of impulse control as Tsuna points it out, is ready and willing to throw hands at any given moment and is unapologetic of it, and is the one Amano actually calls an airhead.

The only problem she had with the mafia is that she thought Tsuna was forcing it on Reborn, and when she confirmed it was all true she literally didn't even blink at it, and immediately called herself the future Decimo's wife djosdkkd.

On that note she is literally mafia right from her first appearance, is more or less involved in almost all the mafia shenanigans, was right there with Tsuna & Co when they went to destroy the Tomaso's headquarters.

And like?? Amano could just have left it at that if she wasn't going to do anything else/more with it. Haru had so much potential, and not only Amano did nothing with it, she actually watered her down and took away all her distinct character's traits 😭.

------

Hibari is so much more feral and playful than his fanon cool, overpowered, quiet badass counterpart. Which I love too, don't get me wrong, but these two sides of him don't have to be exclusive!

He talks and smiles and jokes often, and shows off and casually insults you, and licks the blood away from his lips after having beaten bloody other middle schoolers who dared to defy him (I know this happens in the Kokuyo arc, but it illustrates my point the best).

Not much more to add than that, we should just acknowledge that and put it in our works more often.

------

Gokudera is a compelling character from the get go, and as far as the DLA goes, he's the most compelling character second to Tsuna. He's the only one to actually have flashbacks and a backstory. And what stood out to me the most that I don't see often in fanon, is that he's really a good friend.

Yes he has a short fuse and snaps easily and is easy to anger, but he's not always angry. And is seen having and being capable of positive exchanges outside of Tsuna (I'm thinking Yamamoto namely, who's made with Ryohei to be the one he gets angry with the most).

And yes he holds Tsuna on a pedestal and sees him through heavily tinted pink glasses, but even through that he's earnestly a good friend. And tries his best, and is hardworking and overachieving, so much so he messes up without meaning to, but he only ever has honest, straight-forward good intentions behind it all (well, maybe not always lol).

I love him a lot more now is what I'm saying.

------

And Tsuna. I'm not sure I'll be able to articulate my thoughts properly, but like... he's just your average teenager. Which of course is his whole thing, and I'm saying it in a very not judgy way whatsoever, but he's often made to be at least a little more than that, namely about his bullying.

Like, it's kind of dramatised in fics? And I'm not going to elaborate on that more because it might come out wrong and I don't want that, but it's just, like—canonically he is just bullied, simple as that. Like many other teenagers are.

And it's all in a "chill" way (for unfortunate lack of a better word, I don't mean to trivialize bullying at all, it's wrong and unfair and never deserved or okay, just so we're clear), and by the time the story starts Tsuna is used to it and has given up fighting against it, and actually finds refuge and a twisted comfort in embracing his Dame-Tsuna's monicker, because at least he's not gonna hit rock bottom deeper than that if he does.

And I'm not actually going anywhere with this, it's just? It hit me how differently canon and fanon portray his bullying.

Back on the note of him being a (below) average teenager, Tsuna is not an uwu pure cinnamon roll too good for this world.

He's literally so quick to judge and criticise, whether in his head or out loud when he knows more the person (namely Haru lol, poor girl), it was actually a bit of a shock tbh lol. He snaps easily, and is lazy, does not want to try even one bit, and is happy to run away from his responsibilities whenever he can.

And not only I'm not saying that in a judgy way this time either, but I'm actually saying it in a good way. He really felt like your average middle schooler, and it was so refreshing to see. That, plus the fact the narrative never holds it against him, let alone punishes him for it even if he's made to grow out of these traits, and it's literally part of his character arc, is kind of unique for the shonen genre (maybe, I'm not exactly a specialist of shonen mangas lol).

And I can see why you'd want to change it in fics, but personally I think it really makes his character's arc even more meaningful.

#katekyo hitman reborn #khr #khr text post #daily life arc #i said long story short but this is actually the long story 😭#lile a lot of things i just really need to start to keep going uh sbdlsnks #if the read more doesn't work i'll add it on desktop as soon as i get my hands on a computer #in the meantime sorry about that #khr reread

27 notes · View notes

ganymedesclock · 3 years

Note

do you have any thoughts on mentor archetypes in general? i looked it up and most of the analysis was about how they invariably die...

I have a lot of thoughts on mentor archetypes, particularly considering it is arguably my job to be a mentor (I am an early childhood educator)

I really love mentoring as a character trait, but I can really hate some of the ways that it applies. There are two problems I think that tend to consume mentor characters (and I’ll add a bonus thought to make three), though they aren’t exclusive nor exhaustive:

mentorhood as a get out of jail free card

mentorhood as the only important thing old people can do

mentorhood as an isolated special incident

1. Mentorhood as a get out of jail free card

I get it. The introduction of Yoda as a character was influential to many people’s childhoods mine included. We love our hard knocks montage. But the fact of the matter is, both educationally and morally speaking, there’s like. a lot of reasons you should not be a dick to someone you’re teaching, and why if a character is being a dick to a student, in particular a student who is younger and needier than them, this should be a character flaw.

(A GREAT example of this wielded effectively as a character flaw: look at Shifu in Kung Fu Panda! Half of the first movie is examining that Shifu’s tough love schtick not only created Tai Lung as a villain by his own admission, but hurt Tigress personally, and Po who was already pretty willing to give up on himself, gave up more until Shifu had a realization and got his ass in gear; and it is made clear in the later movies that it’s because he was grappling with a lot of emotional issues)

Basically it shouldn’t be a joke that the mentor is strict, or harsh, or cruel. Especially don’t make jokes about corporal punishment, which we have better and better science pointing to that it is abusive and fails to teach.

And part of this is tricky, because a lot of the mentor tropes we’re fed are abusive or flawed mentors, and if you exclusively load the cannon with that sort of material, that’s what’s gong to come out of you unprompted. It’s important to think carefully about what’s actually being taught and being learned. And there should be, bluntly spoken, a reason why these people like their mentors, and if they don’t, that will hurt their progress. There’s no niche so precious that you just HAVE to put up with them. If a mentor is the legendary best in the land, but a terrible person to put up with, it’s not inconceivable that the protagonist is gonna pack their stuff and go talk to the second best in the land who isn’t such a pill. And if the hero stays, then, it’s become an enduring character trait that they will tolerate maltreatment in the interest of a higher goal and that’s not necessarily a good thing.

2. Mentorhood as the only important thing old people can do

This is simply an elaboration on my previous post which I presume inspired anon’s question, but your setting doesn’t simply have a handful of old masters who were young and skilled some long time ago but are now old and beyond doing anything important- or, if it does, there’s a story there. For example, in one of my personal projects, Bevy, there are very few veterans in a particular organization because the organization is fairly recent and because it had an extremely high mortality rate at first- so the few elders that are there, all know each other, and tend highly skilled and highly respected. They’re the survivors of a bleak time.

And even then, that’s going to be a mixed bag. The elderly grandmother-type who is one of the major characters contrasts against a fashionably middle-aged former knight who keeps the main bastion of the organization safe and running smoothly.

Basically, it’s important to consider that old people are simply just people who’ve been people for a long time. They are still doing everything that younger people get up to. Not every old person is weak or infirm. Not every old person who does have disabilities gained them because of age. Not every old person is entrenched in all their skills and passions because they’ve been doing them for years- people pick up new things all the time, and that’s a by-product of being alive, not of being young.

Old people are allowed to still give a shit about their own life and progress- rather than simply lying back and abdicating to the young on the idea they already have one foot in a grave. This is especially harsh in series where the mean age is low- it might seem funny to joke about how the one 25-year-old in a cast of 10-year-olds is old, but the frank and brutal reality is that if a thirty year old is acting like they’re retirement age something’s brutally wrong here.

Basically, treat elders in your stories like they’re full people. Any society or organization that’s been around will have old people! This is a thing about worldbuilding that I find highly incredulous sometimes- almost no populations will exclusively be 18-30 year olds. Anywhere people have been for a while, there’ll be old people, and anywhere people intend to stay will have at least a few kids.

And “old” is not a personality trait- the old people won’t all be limited to wise elders or lonely twilight wanderers or indulgent grandparents and even if they have those qualities they sure as hell won’t be a vacuum. Maybe the lively, playful shopkeep that the detective gets some important intel from is pushing seventy.

3. Mentorhood as an isolated special incident

Teaching should really not be a matter of training montages. The fact of the matter is, and this ties strongly into the above- in any context, at any time, people will have an uneven level of experience. We are a highly social species. We are wired to take advantage of the fact that we’re usually in groups, and even when not in groups, we can observe or understand what came before us and synthesize personal experience from secondhand experience.

To me, I feel like if there’s a big weakness with the archetypal Mentor, it’s that there’s only one, and all they do is teach. Some people do make teaching a career, and that’s important! But guess what, when I took my job, I’d never learned how to change a diaper before. I was taught, on the job, by my coworkers. I didn’t check into a monastery to practice rigorously on baby dolls before I ever approached an infant.

This is something that comes more easily once you’ve done the work- if you have a cast of characters with diverse ages, backgrounds, and levels of experience, a lot of teaching will just happen organically. Person X will go to do something, realize person Y doesn’t know how, and so person X will show person Y. X doesn’t need to be older, or A Mentor Archetype, or anything in particular.

People learn from each other, constantly, and for a lot of reasons. And learning is often more meaningful when we integrate it into our daily life.

#writing ruminations #readmore #Anonymous

95 notes · View notes

pynkhues · 3 years

Note

Why do you think good girls don’t kill off white people ?

Ah! Well! That’s a pretty loaded question, haha.

I think there are quite a few things to unpack within it, particularly around how this show handles race and violence more broadly, and I’m going to do my best to offer an answer to that for you here, but before I do that, I want to start with the fact that I’m not the best person to ask.

Honestly, it’s a conversation I struggle with because while I do read, listen and try to think proactively about media, criticism and the voices of BIPOC writers, audiences and critics, I’m also white and I’m Australian, so presenting myself as anything close to an authority on the subject of race and storytelling in America feels wildly irresponsible at best.

(When I say that too, please don’t get me wrong and think I’m excusing Australian media from similar conversations – Australia has a deeply racist past and present, but the context of that past and present is very different to the experience of BIPOC in America, and to equate the two would be diminishing to the nuance of both conservations).

My point is that if any other bloggers feel comfortable and want to speak to this, or to what I write below, please do! And please tag me so that I can see and reblog, because I know I’m not the best source for this conversation and because I’d love to learn more myself and amplify the voices of people with more informed points of view!

But! You asked me and I don’t want to dodge the question either or thrust responsibility onto others!

So!

I personally think the issues of race on this show vary not just character-to-character, but writer-to-writer, which is indicative of a broader problem with the show I’ll talk about a bit later. Right now, I want to talk about the fact that there have been episodes where I think race has been handled in a way that feels thoughtful and considered. In particular, I’m talking about 2.06 which really paralleled Turner and Stan as Black men working for law enforcement, a conversation that was revisited in 2.09 during the lie detector test when the strength of Stan’s character was contrasted with the self-interest of Turner’s. The latter episode was also bolstered by Ruby and JT’s push-pull which came to a close by spotlighting a class issue often tied to race – under-resourced school districts. These are rounded episodes that touch on the nuance of complicated issues, and I don’t think it’s a coincidence that both episodes were written by Black writers, Des Moran and Carla Banks-Waddles.

That said, that nuance is too-frequently missing.

I think there are a lot of occasions where the show removes race from character and context in a way that is detrimental to not just those characters, but to the show overall. One of the clearest examples of this is – as @foxmagpie pointed out just the other day – the inauthenticity of the show presenting Ruby’s experience of invisibility as the same as Beth and Annie’s, something that the show does more or less every episode. Her experiences would not be the same as theirs, and to present it as such diminishes her arc, her relationship with Beth and Annie, and the show’s themes overall.

That removal of race from character and context is often a key issue that the show has with how it depicts violence. and I’m going to circle back to this point in a moment, but I just want to clarify something else quickly.

The show has killed off white people.

In fact, prior to 2.13, most of the characters killed were white (Eddie and Jeff), although not all (Ruby’s dad), and all the characters who experiences violence were white – Annie was almost raped, Mary Pat was raped, Dean was shot, Big Mike was shot, Ben’s bully had his finger broken, and Boomer was hit over the head with a bourbon bottle, held hostage in a treehouse, punched, manhandled and hit by a car. Marion was also killed off in 3.08.

I’m bringing this up not to diminish the violence that Ruby, Rio, Turner and Lucy have experienced on this show, but rather to emphasise my point above. The show, I think, wants to treat all of this as the same. It wants Ruby, Rio, Turner and Lucy’s identity and race to be incidental in these moments when it can’t be, because it’s not. Because ignoring the social and cultural history of the violence that these characters experience is not only inauthentic, but a part of a pattern of storytelling that brutalises BIPOC bodies in media.

None of us live in a vacuum, and context matters. Context is important. Context is what all of us live with, and on paper – in a vacuum – a man being shot by an ex-lover after he kidnaps her is very different to the contextualised image of a white woman shooting her Latino ex-lover – a sequence of events that conjures racist stereotypes, tropes and historic cultural violence. Similarly, a woman being murdered after being used by a colleague and then coerced by a gang is different on paper to the image of an Asian woman being used by a white woman and then murdered in a country where anti-Asian violence is at an all time high, and when Asian characters in Western media have historically been treated as disposable.

We don’t live in a world without context, so the stories we consume shouldn’t ignore that context irresponsibly.

I also think there’s something to be said here about the salacious presentation of certain acts and the lingering camera on certain moments. The scene with Rio being shot is graphic in a way no other violence on the show has been, with the closest to it – I would argue – being Boomer’s attempted rape of Annie in 1.01, which is a whole other kettle of fish (I have very mixed feelings about how this show uses and talks about rape, but that feels like a whole other post, haha). Similarly, the camera lingered on Ruby’s shot leg (and the story’s stayed with us longer than Dean’s shot chest), and Turner’s body, while Marion and Eddie were both killed off-screen. At the same time though, there’s an argument to be made that the show’s treated the violence against these character’s a lot more seriously than it’s treated, say, Boomer being carted off in a bag after being raped in prison to presumably be further brutalised in some way, or Dean collapsing at Boland Motors halfway through a Fortnite dance.

My point there is that we shouldn’t ignore that white characters on the show are killed and brutalised too, but we also need to acknowledge that these scenes are entrenched in different contexts, which means that the way that they play out has a really different impact, and the show trying to divorce these acts from race is ignorant and irresponsible.

In that sense, I don’t think the show’s trying to be harmful or deliberately relying on racist tropes. I think it’s made active efforts to rectify certain problems it’s had historically (half of s3’s episodes were written by Black women, a marked evolution from 0 in s1), but it’s one that, in my opinion, doesn’t treat race as central to its story in the way that it should, particularly as a relatively diverse show that’s concerned with class, family, poverty and crime in America. And that is why I think the depiction of it varies writer-to-writer, and it’s why I think the show overall can be thoughtless with how it depicts scenes of death and violence, and that is a top-down problem that Jenna and the PTB need to address.

After all, death and violence are always going to be a part of a show like this – particularly a show that has such a small, insulated cast (ergo limited characters to depict as both victims and perpetrators of that violence in meaningful ways), but it’s the thoughtlessness for me that steeps the show’s most racist scenes, and in 2021 that’s really not acceptable and the show should be held accountable.

#crime time #behind the scenes #sort of #race #welcome to my ama #lanai6world #race on gg

38 notes · View notes

templeofshame · 3 years

Text

Everyone’s Bi in Space

or, the Queer Future of Interactive Space Adventure

Phil’s interest in space isn’t new in Interactive Space Adventure; it’s featured prominently in other weird!Phil videos I’ve analyzed, including those with shared themes (like responsibility for ending the world, sacrifice, and the eating of faces) and characters (Sebastian, Lion). But in other weird!Phil vids I’ve looked at, space functions as an abstract infinite beyond. While aliens do make appearances, weird!Phil’s space often carries a sense of emptiness; it’s what’s left after the world as we know it is gone. In Interactive Space Adventure, though, it is an immediate, navigable setting, and one that’s far from empty, populated with an array of characters and sentient-made structures (physical and social).* As in The Mark of Oxin, the choices provided to the player are far from infinite (though much more than the average video or the watch-or-don’t agency of The Silver Button), with deviations from the main path tending to loop back quickly or lead to an immediate end, but for Phil as a creator, this richly populated interpretation of space has room for creativity beyond convention, with no labels and no limits, and along with counting animals and face-eating, that includes... queerness!**

The way that sci-fi freedom empowers queerness in Interactive Space Adventure has a similar approach to The Mark of Oxin. In both, Phil establishes an otherworldly scenario with not-quite-humans, avoids any use of labels, and introduces a strong indication of queerness between Phil/Alex and what reads as an opposite-gender couple (of course, who knows about angel genders or “future people” genders, and we now know PJ not to be a cis man). When Phil encounters the Future People played by PJ and Lex (as with the angel), they initiate things -- PJ orders Phil to “kiss us on the face and leave” -- but Phil not only complies, but says “You are both quite beautiful.” And where The Mark of Oxin leaves the queer moment up to player choice, I believe it’s the only way to survive the encounter with PJ and Lex here.

Or should I say, “to progress past” the encounter? In most of Phil’s branching paths, progression and survival are the same, but the next queer encounter offers what I believe to be the only end to the adventure besides death or saving the world. When Phil encounters a faceless yellow-green man (also played by Phil), he is immediately confronted with the question, “Do you love me?” He’s just an alien searching for love, and if you choose, Phil can live happily even after with him (although Sebastian thinks he’s insane and the face-stroking gets a bit creepy). It’s the happiest ending available, I think (although I guess the world might not get saved, but maybe Sebastian wouldn’t bother to endanger it if he can’t use it to turn you against Lion?). If you choose no, yellow-green man can handle rejection and seems like a reasonably nice dude, so maybe he should just buy Phil dinner first (although Phil does seem a little bit disgusted or at least uncomfortable with him in that version). As with PJ and Lex, there’s no discussion of gender, sexuality, or labels, but the performance choices don’t offer anything to discourage reading the potential relationship between Phil and the yellow-green man as mlm, and whichever path you choose, the yellow-green man is definitely interested. And there isn’t a woman to distance reading it as gay, but there is a whole lot of weirdness/alienness and perhaps the fact that both characters are played by Phil (and that they can’t both be on screen at the same time) could make the scene of two male-coded characters committing to each other still not feel too revealing.

Other potential points of queerness that don’t really fit in, but are kinda interesting to me: The “poke” sequence at the very beginning, which positions the viewer as a separate character making choices for themself rather than for what Phil does, evokes a certain flirtiness in the era of the Facebook poke. It’s an equal-opportunity flirtiness since Phil obviously doesn’t know the gender of the person poking, which is consistent with the flirty “I’ll kiss anyone at midnight” Phil of this time period; however, in this case the poking is quickly established to not be consensual, and he gets hostile if you keep it up, so it doesn’t really convey any queerness on Phil’s part even if the poker is a man.

Also, Sebastian’s assertion that when Phil’s life was flashing before his eyes, “all you thought about was me.” Is our unreliable guide and manipulative mastermind Sebastian trying to flirt with Phil? Phil shuts him down pretty immediately, though. (I may need to rewatch to see if Sebastian gets queer-coded or tries to flirt with Phil in his other vid appearances.)

*Many of the aliens seem to have a shared culture that involves saying you’re from the future whenever you meet someone? But are they actually even from the future if he is just from the past? Is this a topic for another essay?

**As a consumer of sci-fi, I would expect Phil to be familiar with some of the tropes around future societies and fluid sexuality.

#weird!phil analysis #interactive space adventure

13 notes · View notes

zechleton · 3 years

Text

Ranting and Raving About Magic in 2022

I haven’t written about Magic in ages, so what better way could there be to get back into the habit that a stream of consciousness spiel about the 2022 announcement?

Strap in, folks, because this is going to be long and poorly edited.

Actually, it’s not that long, about 1500 words. It might feel longer, though.

Neo-Tokyo or something idk

As one of the five people on r/magictcg that didn’t want to return to Kamigawa in standard set, I have to admit this one looks surprisingly awesome. The couple of pieces of art Wizard shared looked fantastic, as usual, and I’m a sucker for that blue/pink colour scheme. I’m not a huge fan of time travel as a story telling device but since the Magic story has always served the card game, using tropes I don’t enjoy is far from a deal-breaker. Yeah – I’m cautiously optimistic about this one.

Someone Made Elspeth an Offer she Couldn’t Refuse

Obviously, we know much less about this set. Still, it sounds right up my alley. I’m curious how Wizards is going to make Magic meets The Godfather work, but the good kind of curious. On top of that, I’d really like to have some more shard-based commanders on Arena for Brawl, and I assume we’re the “three-colour demon crime families” isn’t referring to clans (triome?) again after leaving Ikoria behind. Also, come on, how can you not love the sound of demon crime families?

Glory, Glory, Dom United!

There is a part of me that gets nervous about nebulous concepts like design space whenever we go back to an old plane again. All these crossovers (more on those later) take on a different appearance when viewed through an “are they running out of ideas” lens. Still, Dominaria was fantastic, by far the best “return to” set – though I’m hoping Innistrad claims that throne in a few weeks. With that in mind, I’m expecting Wizards to knock it out of the park with DU, just like they did with Dominaria.

The Nostalgia Wars

I might scoff somewhat at Magic’s storyline sometimes, but I’ve read the stuff that people think is good. I own both collections of the Artifacts Cycle. They all pale in comparison to good fantasy, but they’re not bad, and they hold a special place in my heart from when I was more invested in stuff like lore and story. The point of that ramble? 2022, more than ever, is Wizards’ mining the seemingly neverending mineral that is nerd nostalgia. It further adds to my “are they running out of ideas” worry, but I can’t say the nostalgia hit/psychological manipulation isn’t working on me. Hell, Return to Return to Innistrad has me more excited than any set for a couple of years now so I guess I’m part of the problem.

Uncaring

The phrase “not for you” is thrown around distrubingly often in Magic circles nowadays. Unfinity, however, is decidedly not for me. And that’s fine.

Dungeons And Dragons Battle for Baldur’s Gate Commander Legends I Think That’s The Whole Title But Maybe I Missed a bit I’m not Sure

Yikes, what a mouthful. I hate the title, both its length and unwieldiness. I don’t really have much interest in the set either. Commander Legends was a neat idea with a lot of flaws. Adding crossover flavour from another IP I have little-to-no interest in isn’t helping matters, though I appreciate that Adventures in the Forgotten Realms was super popular. For me, AFR was pretty much just a core set without any of the usual references to sets I do know and care about. Another “not for me” release.

Double Trouble

Hmm. I’m torn here. As a primarily limited-focused player, Masters sets have been some of my favourites ever. Original Modern Masters is still one of my in my top five sets of all time, and I have fond memories of almost all of the others, too.

Original Double Masters, though, was a victim of apathy brought on by the never-ending deluge of Magic product being released nowadays. I have never even seen a booster of this product, much less opened one. Without looking it up, I can’t even tell you if it was hurt by the pandemic or not, because there’s just way too much fucking stuff nowadays. I don’t know what else to say.

Oh, hang on. Was this the set with a $100 VIP Booster? Hahaha, fuck off.

Jump Around

The original Jumpstart was surprisingly enjoyable on Arena. I never wanted to play it more than a few times, and sometimes you got packs that relied entirely on your opponent getting mana screwed, but those few times I played it were pretty fun. I think putting stuff like obvious eternal format staples like Alosaurus Shepherd in a set like this is some extremely anti-consumer bullshit, but as a play experience it was an interesting mesh of draft and sealed. Not as much fun as either of those, but close enough that the novelty carried it into the “pretty fun, actually” camp. I expect more of the same – I’ll probably do a few runs if I have gems or gold spare.

Universes Beyond: Warhammer 40K Commander et al

Really, this is the bit about all the crossover stuff.

Another vomit inducing title and one that has left me with some introspection to do. Like many people, I find a lot of this crossover stuff distasteful, but I can’t really say why. The fact that the Street Fighter one – an IP I have some amount of investment in – seems less egregious than Warhammer of D&D makes me think that I don’t necessarily object to crossovers on principal. Does my dislike come from the fact that, so far, all of the other crossovers don’t involve properties I care about? Maybe. Even the mechanically unique line of text that pissed off so many people when the Walking Dead set came out doesn’t bother me that much, because Commander is a format I can take or leave.

The Fortnite one rubs me a different wrong way, though. Partly, it’s the sheer fucking inevitability of it all. Of course a popular part of the nerd sphere will have a crossover with Fortnite because that’s just the world in which we live. Partly it makes me feel old, uncool, and excluded, like all the other crossovers I don’t care about, sure. But there’s something more visceral about Fortnite. It’s fucking everywhere and I resent feeling like I have to have an opinion about it. Still, I don’t really have strong opinions about most of the other crossovers, so why this one? I really don’t know. Maybe this is one “this isn’t for you” too many from a game that has been part of my life for over 20 years.

I haven’t bought a single Secret Lair, but I’m generally willing to accept that they’re a bonus product that isn’t needed by anyone but is wanted by some. Hell, if they put out Secret Lair: Snapcaster Mage with good art (at last), I could probably te tempted into picking one up. It would be against my better judgement, though. Something about all these “not necessary but also don’t miss out, aren’t they cool, spend more money please” products rubs me the wrong way. Playing Magic and hating capitalism are difficult interests to reconcile. That’s it. That’s the tagline for this article.

Oh, right, it’s just a blog. Never mind.

Oh, God. The Fornite Secret Lair is going to be the Snapcaster Mage one, isn’t it?

Then there’s Lord of The Rings. My pal Kristen will be thrilled about this, was my first thought. I’m less enthusiastic (shocker, right?), but at least LOTR makes sense as a thing to crossover with. I mean, apart from the obvious business sense. It doesn’t have any guns and it isn’t an obnoxiously ubiquitous battle royale FPS, so that already puts it ahead of two of the other three crossovers. Indeed, without LOTR, you can make a reasonable case that MTG would never exist in the first place. Personally, I view LOTR in the same way I view The Beatles – they were important, and worthy of respect, but have been surpassed in every way since.

And the movies are better than the books. There I said it.

Regardless, this one is fine, actually. I still don’t particularly care for crossovers in general, especially as the setting for a standard set, but at least it makes sense this time.

Shut up Already

Alright, I hear you. I know a lot of that was negative towards the end, but I want to reiterate that a lot of the stuff happening in standard sets next year is really exciting, if a little unoriginal. The crossover/sellout stuff and the interminable deluge of FOMO-driven products is worrying and disappointing, but I guess we just have to try and ignore the ever-increasing number of “not for you” products and focus on the stuff we do like. Seriously, Neon Destiny looks amazing, and I don’t even like anime.

10 notes · View notes

phynali · 3 years

Text

Canonization and Fandom Purity Culture

I wrote a 1k-word twitter thread (as proof that I am Not made for Twitter and it’s goddamn 240-character limit) and am pasting it here with edits and updates (it’s now 2k words).

I have thoughts to share (which I know have been stated more eloquently before by others) about this trend of demanding/obsessing that certain ships become "canon" and how it overlaps with the rise of fandom purity culture.

Under the cut.

Here in 2021 there is a seemingly large and certainly loud and active contingent of online fandoms who desire (or even demand) "canon validation" for a given interpretation of a source material. This is more true with shipping than anywhere else.

First, it is important to note that the trend is not limited to queer ships or to any single fandom. In the past few years I've seen it for Riverdale, Voltron, Supernatural (perhaps most extreme?), The 100, etc., and less recent with the MCU, Sherlock, Teen Wolf, Hawaii 5-0, etc. It is a broad trend across ships, fandoms, and mediums.

So if it is more common for queer ships, it is hardly unique to them. Similarly, pretending that it is about queer representation is a clever misdirect to disguise the fact that it is most often about ships and shipping wars. If you ever need proof of that, consider that a character can be queer without being in a given relationship or reciprocating another character's affections. Thus a call for more/better queer rep itself is very different than a call for specific ships to be made canon.

Also note that when audiences frame it as wanting to recognize a specific *character* as queer, it is almost always in the context of a ship. Litmus test: would making that character queer but having them *explicitly reject* the other half of the ship be seen as a betrayal?

(Note: none or this is to say we shouldn't push for more queer rep and more *quality and well-written* queer rep! Just that that isn't what I'm talking about here, and not what seeking canon validation for a specific interpretation or a specific ship is almost ever about.)

Why does this matter?

the language of representation and social justice should not be co-opted to prop up ship wars

it is reciprocal with a trend toward increasing toxicity in transformative fandom spaces

Number 1 here is self-explanatory (I hope). Let's chat about 2.

Demands for canon validation correlate with a rise in fanpol / fandom purity culture. What is fandom purity culture (and fandom policing)? This toxic mentality is about justifying one's shipping preferences and aiming to be pure (non-problematic) in your fictional appetites regarding romance and sex.

Note that this purity culture is so named as it arises linearly from American Protestantism, conservative puritanical anxiety around thought crimes, and overlaps in many ways with terf ideologies and regressively anti-kink paradigms.

It goes like this: problematic content is "gross" and therefore morally reprehensible. Much like how queer sex/relationships get labelled as "gross" (Other) and thus morally sinful, or how kink gets labelled as "harmful" and thus morally wrong. The Problematic label is applied by fanpol to ships with offset age or power dynamics, complicated histories, and anything they choose to label as "harmful". As such, they would decry my comparison here to queerphobia itself as also being harmful, because their (completely fictional) targets are ~actually~ evil.

(The irony of this is completely lost on them).

This mode of interacting with creative works leaves no room to explore dark or erotic themes or dynamics which may exist in fiction but not healthily in reality. Gothic romance is verboten. Even breathe the word incest and you will be labelled a monster (nevermind Greek tragedy or GoT).

As with most puritanical bullshit, fanpol ideology only applies these beliefs to sex and never to violence/murder/etc, proving what lies at its core. It also demands its American-based values be applied to all fictional periods and places as the One True Moral Standard. It evangelizes – look no further than how these people try to recruit others to their cause, aim to elevate themselves as righteous, and try to persuade (‘save’) others from their degenerate ways of thinking.

“See the light” they promise “here are our callouts and blog posts to convince you. Decry your past sins of problematic shipping, be baptized by our in-group adulation and welcome, and then go forth and send hate to others until they too see the light.” In many ways “get therapy” by the antis is akin to “I’ll pray for you” by the Christian-right (and ultimately ironic).

(Although it has been pointed out to me that these fans are likely not themselves specifically ex-evangelicals, but rather those who have brushed up with evangelical norms and modes of thinking without specifically being victims of it. In many ways they are more simply conservative Christian in temperament and attitude without necessarily being raised into religion by belief).

What this has to do with canon validation is that these fans look to canon for approval, for Truth. On the one hand, if it is in the canon then it must be good / pure or at least acceptable. The authority (canon) has deemed it thus. It is safe and acceptable to discuss and to enjoy watching or consuming. In this way, validation from canon means a measure of safety from being Bad and Problematic.

For example, where a GoT fan could discuss Cersei/Jaime's (toxic, interesting) dynamic in depth as it related to the canon, fans who shipped Jon/Sansa (healthy, interesting) were Gross and Bad. The canon as Truth provided a safety net, a launch point. "It's GRRM, not me, who is problematic." It wasn’t okay to ship the problematic bad gross incest ship, but it being in the canon material meant it was open for discussion, for nuance, for “this adds an interesting layer to the story” which is denied to all non-canon ships labelled as problematic.

(Note: there are of course people who have zero interest in watching GoT for a whole slew of very valid reasons, including but not limited to the incest. That’s a different to this trend. A less charged example might be The Umbrella Academy, where a brother canonically is in love with his sister and antis still praise the show, but if you dare to ship any of the potential incest ships then you are the one who is disgusting).

On the other hand, a very interesting alternate (or additional) explanation for this phenomenon was raised to me on twitter. (These ideas aren’t mine originally, but I wholly endorse them as a big part of what is likely going on): Namely, as with authoritarian individuals in general, they see themselves as right and correct, but the canon (which has not yet validated their ship) is not correct, and is in fact problematic, and so they can save the canon from itself.

As mentioned, these fanpol types see their interpretation as Good and Pure. So if they can push (demand, bully) the canon into conforming to their worldview and validating their interpretation, then they have shown the (sinful) creators the light and led them to the righteous path. This only works if the canon allows itself to saved though, otherwise the creators remain Evil for spurning them.

How is this different from fans simply hoping for their ship to be canon?

For a second here, let’s rewind to the 90s (since Whedon has been in the news recently). This “I want it to be canon” thing isn’t 100% new, of course. We saw this trend then for the show Buffy the Vampire Slayer, but it was different then. At the time, fans who hoped for a ship to be canon might have been cheering for a problematic one to begin with (Buffy/Spike). So shipping was still present, minus vocal fanpol.

(And Buffy fans learned that canon validation...can leave a lot to be desired. A heavy lesson was learned about the ways that fan desires can play out horrifically in canon, and how some things are best left out of the hands of canon-writers).

These days, this is still largely true. Many fans hope for their ships to go canon, as they always have. There are tropes like “will they/won’t they” that TV shows may even be designed around, which a certain narrative anticipation and a very deliberate build up to that.

But while shipping *hopes* occur for many fans, almost all ships fans that *demand* to go canon and obsess over are now the ones deemed as Unproblematic, or as Less Problematic. I’m talking here about the ships that aren’t necessarily an explicit will/won’t they dynamic but do have some canon dynamic that leads them to being shipped, but which the creators aren’t necessarily deliberately teasing and building up a romantic end-game for.

These ships often have fans who are happy to stick to fandom, but there has also been a huge uptick in the portion of fans who are approaching shipping with an explicit lens of “will they go canon?” and “don’t you want them to be canon?” and now even “they have to go canon” and “the canon is wrong if they don’t make this ship canon”, to a final end-point of “if the ship doesn’t go canon, the source material is Wrong and Bad.”

These latter opinions are the one we see more by extreme fans (‘stans’), hardcore shippers, but especially by fanpol-types, the ones who embrace fandom purity culture at least to some extent.

Why them?

In pushing for canon validation, fanpol types seek to elevate their (pure) interpretation of canon. As mentioned above, it’s validation of their authority, a safety-net, and a way to save the canon from itself if only they can bully the canon into validating their right and good interpretation.

There’s also another reason, which is that canon validation is a tool to bludgeon those seen as problematic. They can use it to denounce other (problematic) ships as Not Being Canon and therefore highlight their own as Right and Good, because it is represented in the True Meaning of the Work.

Canon validation then is a cudgel sought by virtuous crusaders to wield against their unclean enemies. It is an ideological pursuit. It is organised around identity and in groups sometimes as insular as cults.

How does this happen?

Fanpol tend to be younger or more vulnerable fans, susceptible to authoritarian manipulators. As many have highlighted before, authoritarian groups and exclusionary ideologies like terfs are very good at using websites like tumblr to mobilize others around their organizing beliefs. Fanpol tend to feel legitimate discomfort, but instead of taking responsibility for their media engagement, ringleaders stoke and help them direct their discomfort as anger onto others; “I feel ashamed and uncomfortable, and therefore you should be held accountable for my emotions.” Authoritarian communities endorse social dominance orientations, deference to ringleaders, and obedient faith to the principles those ringleaders endorse.

As these fans attach more and more of their identity to a given media (or ship), and derive more and more validation and more of their belongingness needs from this fanpol community, they also become more and more anxious about being excluding from this group. This is because such communities have rigid rules and very conditional bases for social acceptance. Question or "betray" the organizing ideology and be punished or excommunicated. If that is all you have, you are left with nothing. Being labelled problematic then is a social death.

What this means is that these fans cannot accept all interpretations of a media as equally valid: to do so Betrays the ideology. It promises exclusion. And, in line with a perspective around ‘saving’ canon and leading others into the light – forcing and bending the canon to their will is what will make it Good (and therefore acceptable to enjoy, and therefore proof of them as righteous by having saved others). As was also pointed out to me on twitter, endorsement from canon or its creators also satiates that deep need they have for authority figures to approve of them.

Due to all of this, these fans come to obsess over canon validation of their own interpretation. In a way, they have no other option but to do so. They need this validation -- as their weapon, as their authority, as their safety net, as their approval, as their evangelical mission of saviorship.

Canon validation is proof: I am Good. I am Right(eous). I am Safe.

(In many ways, I do ache for some of these people, so wrapped up in toxic communities and mindsets and so afraid to step out of line for fear of swift retribution, policing their own thoughts and art against the encroaching possibility that anything be less than pure. It’s not healthy, it’s never going to be healthy.)

In the end, people are going to write their own stories. You are well within your rights to critique those stories, to hate them, to interpret them how you will, but you can never control their story (it's theirs).

Some final notes:

This trend may be partially to do with queer ships now being *able* to go canon where before so no such expectation would exist. Similarly, social media has made this easier to vocalize. Still, who makes these demands and the underlying reasons are telling. There are also many legitimate critiques of censorship, queerbaiting (nebulous discussions to be had here), and homophobia in media to be had, and which may front specific ships in their critique. But critique is distinct from asking that canon validate one's own interpretation.

#fandom purity culture #antis #discourse

26 notes · View notes

qqueenofhades · 4 years

Note

(1/2) Honestly, Hilary, you are a blessing. I want to scream about your amazing Fic, how I love Immortal Husbands and the whole Immortal Family and how I had more fun learning history from your writing than in my whole damn school. But I also want to appreciate your TOG answers and meta. All the more because my friends outside the internet saw TOG as some boring movie with shitty plot and I'm just here in the corner, wanting to scream at someone who will understand about FINALLY seeing...

"(2/2) ...some GOOD queer representation, without throwing stereotypes in our faces, and I can't even begin with the found family trope because THE FEELS. Anyway, what I was trying to say with this rambling: thank you. <3"

....I’m sorry what. Who. Who is saying this. Straight people? I feel like the answer is definitely straight people. Because they have had EIGHTY FUCKING THOUSAND shitty action movies with the Boring White Man Hero, the disposable Muslim-coded (or actually Muslim) villains, the equally disposable eye-candy female love interest who either gets fridged or is secretly evil, Grimdark Everyone Is Secretly Bad And Nothing Matters crap philosophy, Moral Hand Wringing Over Superhero Violence, on and on. So of course they can moan and whine about “iT’s nOt OrIGinAL” and apparently not sufficiently Grimdark and Amoral, and how the dynamics of the team are completely reshuffled in a way that actually doesn’t prioritize THEM, and like.... this is why I never trust media only beloved by straight people, and only ever watch anything after it’s been recommended to me by a trusted queer friend. Because sometimes I remember the difference, and WHOOF.

Because: the gays and people of color DESERVE formulaic action/superhero movies as much as the Generic White Bro (in fact, we can all agree, far more than the Generic White Bro). This is the trap where every piece of media that’s not made by a Mediocre White Man has to be the best all-time of its genre, apparently, rather than using some of the same well-loved storytelling tropes but recoding them and re-deploying them for a more diverse audience. Instead of the Hard Bitten White Man Action Hero, we have Andy and Nile (two women, and Nile as a young Black woman who literally cannot be shot to death, in the year 2020, is fucking revolutionary on its own don’t @ me). As I said in my first meta, even Booker, who comes closest to fulfilling that trope, is made the closest thing to a “villain” there is on the team and even then for entirely sympathetic motives that rest on him having teary-eyed conversations with Nile about how he misses his family and feels like he failed them. His emotions help drive the story in an actually GOOD and useful way, rather than sacrificing everyone else to coddle him through his feeble heterosexual manchildness (why yes, I AM staring directly at the Abomination without blinking). Nobody in the story is EVER penalized or made a fool of for loving their found family (itself an intensely queer trope, even before the queerness of the individual characters) or trying to do the right thing even in the middle of the horrors, and frankly, I just want to consume more media with that as the main message. I’M SO FREAKING TIRED OF GRIMDARK. GOD. IF I WANTED THAT I COULD JUST TURN ON THE NEWS.

And of course, my BELOVED Joe and Nicky: an interracial, interreligious gay couple that has been wildly in love for literal CENTURIES and gives me the opportunity to do things like write the most self-indulgent historical romance backstory fic ever with DVLA. They met in the embodiment of religious conflict and have transcended that, there are never any cruel jokes or expectation for you to congratulate the narrative for being so beneficent as to give you “an exclusively gay moment” (fuck you Disney!). Joe and Nicky’s love story is central both to who they are as characters, doesn’t revolve around them being suffering or being Tormented over being gay (when the cops pull them apart for kissing, they beat the cops the fuck up, WE STAN), gets to unfold naturally in the background of the story with these beautiful little beats of casual intimacy (the SPOONING /clutches heart) and since THEY LITERALLY CANNOT DIE, no chance of the “burying your gays” bullshit. Even when they’re captured first by the bad guys, and I briefly, upon first viewing, worried that they were going the Gay Pain route just for cheap emotional points, they remain constantly united and fighting together and able to do stupid things like flirt when they’re strapped to gurneys by a mad scientist. Then the rest of the team ends up right there with them, so it’s not something that happens to them alone, and Nile comes in to save everyone’s asses, and Joe and Nicky get ANOTHER beautiful moment of fighting the bad guys and being worried about each other and tender even in the middle of this chaos and GOD! MY HEART! MY WHOLE ASS HEART! I LOVE THEM!

And just the fact that it’s not the Evul Mooslim Turrorists or Boilerplate Scary Eastern Europeans or whoever else who are the bad guys, but Big Pharma, nasty white men with too much money and not enough ethics, the CIA (at least tangentially; they could have pushed a lot harder on that but I’ll give Copley individually a pass), and the very forces that want to stop the Old Guard and discount what they do (helping the little people) as worthless... GOD. That is fucking POWERFUL. They literally take the time to explain with Copley’s Conspiracy Wall that even the little things the team does, when they can’t see it themselves, spiral out through centuries and have positive effects down the line. And it’s NOT just in the Western world (no scene in the movie takes place in America, none of the main four characters/heroes are American, and they only go to England when the English villains capture them). They’re in Africa, in Asia, in South America, in all these places where the Western/imperial world order has harmed people the most and in a way that Euro/American audience often gets to forget. On the surface this might be an action movie with Charlize Theron beating up men (which I mean, that alone is fine if you ask me) but there are SO MANY WAYS in which it achieves these deeper moments of meaning and subversion of the narrative that we are so often fed and the ways it could have done this (i.e. the same old Mediocre White Man ways).

I love the fact that the team unabashedly LOVES each other as their family members (I will never get over them all liking to sleep in one room even in their safe house in France), even when they struggle, and that they continue trying to make it right and never consider leaving Booker behind, because he screwed up but they still love him (and he them). I LOVE LOVE LOVE that this movie gave me not just Joe and Nicky but Andy and Quynh: two completely badass queer couples who kick tons of ass and have romance and Drama and rich and well-realized lives outside being used as emotional manipulation or suffering porn for straight people. (I realise it’s only been two weeks since the first one released, but where is my sequel, I have Needs. Especially Andy/Quynh and Quynh/Joe/Nicky needs). I was disappointed that they’d gotten rid of Quynh in a Bad Medieval Way to cause pain for Andy and then shocked and DELIGHTED when she turned up alive in Booker’s apartment at the end of the film. I LOVE that this movie gave me Nile Freeman and everything that she represents in the middle of this hellish year. I even love Booker! BOOKER! When he’s usually the character type I can’t stand and have the least patience with!

So yes. I have watched it three times already. I am sure I am going to watch it several times more. It just makes me so happy.

#the old guard #the old guard meta #joe x nicky #weaverofthenight #ask

99 notes · View notes

andmaybegayer · 3 years

Text

Last Monday of the Week: 2021-03-01

First Monday of the Month. My boss just quit at work which means I'm now the only formally trained engineer left who has any particular specialization in embedded systems. This week is going to be a doozy.

I also wrote a Very Long set of media updates because I’ve been consuming some stuff that makes me think a lot. Never a good sign.

Listening: I spent all of Saturday playing Minecraft after talking with some friends about it during the week on IRC. Practicing what I preach with regards to my Large Biome Supermacy policy, which does involve a lot of walking. Hence, I started catching up on The Adventure Zone: Graduation again, I'm like ten episodes behind.

https://maximumfun.org/episodes/adventure-zone/the-adventure-zone-graduation-ep-32-by-a-haircut/

I don't really enjoy Travis' DM'ing style. It's very loose and he has a tendency to let players run wild without much structure which is a tricky thing to handle. He does a lot of worldbuilding and character design but doesn't seem to plan much in the way of arcs. That pays off sometimes (returning to the school to realize they broke a promise they made a few sessions earlier and had to deal with consequences, for example) and when it does, it’s really good, but it's finnicky. I know DM's who can do that, but, well, actually I know One Single DM who can do that well and she's absurdly smart.

Reading: Still on Worm, I just got past chapter 8 or so now. It lives in my phone browser so I've mostly been reading it whenever I get some spare time, which is a good sign. If a book doesn't grab me I need to really settle down in a quiet space to avoid getting distracted, but I can read Worm while someone else is on the phone in the same room.

It is a story with a lot of very well-conveyed feelings and events. It's very easy to imagine yourself in it. Characters actually act like they care about what they're doing, I feel like writing this took a lot of care to keep everyone on model.

There's also a certain care given to the superpowers that you'd usually only see in forum posts arguing about an actual superhero story. Everyone always likes to argue about how far you can push a superpower: can you use teleporting to fly? What prevents a speedster from catching fire in the air? Where does the energy for a pyrokinetic ability come from? Worm takes these and runs with them as a way to make absolutely any fight become a series of gambits relying on whether a power can or cannot be used to perform some high-stakes trick.

The world certainly has some underpinning contrivances to explain why no one gets killed very often but I've always considered nitpicking the base contrivances of a setting silly, because that's precisely what they are: contrived, in order to allow the rest of the story to flow from there. Like arguing about Omega’s abilities in the famous thought experi-*I am dragged off stage by the ratblr police for making a by now extremely stale joke*

Watching: I came and edited this section in like an hour before this posts because I keep on forgetting to put it in. I don’t really like watching TV and with my parents stuck at home in Pandemic Times it’s how they pass the time.

I did finish S3 of the Good Place. It’s very funny. I’m glad I’m watching it and I’m going to have to go find S4 because ZA Netflix doesn’t have it for whatever reason. It feels a little like it was written by Phillip Pullman if Phillip Pullman was a comedy TV writer.

I also really enjoyed the PBS Spacetime video about how time causes gravity. Love when an explanation of concepts is good enough that you drawn the conclusion on your own.

youtube

Playing: Visual Novel Hell plus Minecraft.

I spent approximately seven hours in Minecraft over two days. I tend to hop in and out of games for 1-2 hours at a time but there's a handful that can suck me in for an entire day. Minecraft, Warframe, Horizon Zero Dawn, Night in the Woods. Bastion, to a lesser extent. I end up avoiding them because I don't like loosing entire days, but I wasn't really planning on doing anything this weekend anyways.

Minecraft was mostly a long-ass trek to find a saddle, because as previously mentioned, I enjoy playing it with Large Biomes for the sense of scale.

I also completed Act 3 of Psycholonials and Eliza.

Psycholonials is odd. It is doing the thing that Hussie does where it dances around what's ostensibly the story to carry out the actual story. You get used to the trope after your first encounter but it still makes you wonder when the other shoe will drop, and of course, there's no reason it ever has to. The story may remain in suspended animation behind the every growing mess of narrative red tape tying the B-plot together.

Stories about Social Media have no well established norms. I think I might pick up Feed by M. T. Anderson and also perhaps Hank Green's books sometime. See what context they set that in.

Eliza is frustrating to me. It's a game for programmers, by programmers, about programmers. I'm friends with a lot of Capital P Programmers, the types who go to university and get sniped for developer positions at Seattle or Silicon Valley tech companies and who make great and terrible things and then warn you about the deep problems that underpin the slowly rolling ball of venture capital and bloated technology that is the tech industry. But at the same time, it makes me feel like I've burnt out on that conceptually before I even went in. It’s a whole other world that I’m familiar with but very distant from. In fact, that’s kinda how I feel about Psycholonials too. I’m familiar with the social media rat race but I also don’t go there. Parallels!

My cousins (who are halfway to Capital P Programmers, only so much you can do halfway around the world from silicon valley) warned me not to go into CS, because it would bore me, and that's a non-trivial part of why I'm in Engineering. They gave the same advice about Biology and Physics, without that I may have ended up in Microbiology. it’s not my domain, but because of how Engineering is going, you end up a lot closer to programmers than you think. I found out the other day that most of the software developers on my team have no formal tertiary qualifications, which is accepted in CS but of course, right out when it comes to engineering. It’s a whole other world that I kinda expected to skip around. I might go into this another time, since this post is already getting long.

Making: I haven’t done any engineering scicomm posts on here in a while so I started a few blank drafts and finally got one off the ground. With some luck I’ll have that ready this week. What’s it about? Not saying! It might change!

I’ve been doing layout for a custom keyboard, I need to call a laser cutting place and find out what their kerf requirements are so I can adjust the path accordingly. Wouldn’t do to burn a couple hundred rand on an oversized part, I’m paying for this, not my employer like the other times I’ve done laser cutting, so I’m probably not going to spring for getting one of their designers to check my design. At some point I should CAD up a chassis, but at the same time I might just buy some wood and go ham with a router once I get the plates cut.

Computers Slot: I got WeeChat set up properly on my desktop, which technically was just a matter of getting my SSH keys moved over. It’s taking me forever to move in to Cinnabar, in part because Stibnite lost her boot partition and I haven’t bothered to fix it.

So here’s a pitch for WeeChat as a good quality Terminal UI IRC Client. Many of my closest friends live there and it has a good set of tools to help me keep in touch.

WeeChat is very configurable but with perfectly sane defaults, I didn’t configure it for years. The UI is smarter and less arcane than something like irssi, and if you enable mouse support it can be downright modern. Running it remotely like this limits some features but as long as you don’t mind jumping through a few hoops to do filesharing, IRC is really great like this.

One of the big ones is the ability to do that double-pane thing, I can keep an eye on two channels at once (really as many as I can cram on my screen, but usually two) which is great when you want to browse channels while talking in your home channel.

It also has a good array of remote access tools, from what I’m running up there, just weechat running on my server inside tmux connected over mosh for low-latency SSH, to weechat-relay, a relay protocol built in to weechat. At the moment relay only supports android phones and the glowingbear web client, but I’ve never really looked around since both of those cover all my needs. Easily one of the best ways to get IRC on a modern mobile device, barring maybe IRCCloud.

#last monday of the week #galena

13 notes · View notes

opbackgrounds · 4 years

Text

As many of you noticed, the other day I posted Part 1 in what has become a series on my thoughts on sexism in One Piece. If you are somehow seeing this post first, I would recommend clicking the link as I’ll be adding to the foundation I built there.

I already had some pretty strong thoughts on this topic before receiving the original ask, but in the spirit of not wanting to sound like a douche academic integrity I decided to do a little cursory research into what other people meant when they said that One Piece is sexist. Here’s a collage of some of my favorite hot takes

As much as I’m...confused? Unsurprised yet somehow disappointed?...I don’t want to mock or belittle the people who feel this way. I think one of the most dangerous things in our modern internet age is that discussions only get surface deep before they devolve into shouting matches, and when the other side is vilified as ignorant or immoral or whatever it only serves to divide people into groups that grow evermore hostile to one another as the shouting matches get louder. It’s a short jump from your opinions are stupid and bad to you are stupid and bad for having them and I really don’t want to go there.

Tl; dr: I don’t care if you disagree with anything I’m about to say, but if you send me harassing messages please know that I will laugh at you for presuming to think that I care.

Dropping the S Bomb

So first things first, a couple definitions. Sexism is prejudice, stereotyping, or discrimination against a certain gender, in this case women. Chauvinism is excessive or prejudiced support for one's own cause, group, or sex. Misogyny is dislike of, contempt for, or ingrained prejudice against women.

I start with definitions, because there are an astounding number of people who misuse these terms when making arguments. When talking about things like character design, Oda’s typical hour-glass figure is leaning into a stereotype that leads to the objectification of (fictional) women. An argument could be made that One Piece is sexist in that way.

But it’s not that cut and dry, and I am always of the opinion that context matters. I argued in my previous post that there would be a wider variety of female character designs if there were more women, and the exaggerated aesthetic of the series lends itself to the exaggerated busts and butts typical of One Piece ladies.

There’s an interview that came out around the time Strong World was released that I think is helpful when talking about this sort of thing.

I approached it thinking that since I’m drawing for a boys’ comic magazine, then it’s my job to make sure they enjoy what they’re reading. When you actually do become a professional you’ll start getting fan letters and other things and you’ll soon find that the overwhelming majority of them are from girls. Boys just aren’t the type to pick up a pen. (laughs) They don’t have things like stationary or stamps and they don’t think about going through the ‘grueling task’ of writing someone just to say, “That was cool.” Boys are a life form that enjoy something but won’t bother to tell you that they actually do.

So I learned that girls will flood you with their opinions and when I took at step back and looked at the world of manga, I realized that there are a lot of people out there that made me think, “This [author] is really just going along with the girls’ opinions.” And ultimately, if you’re considering those opinions as the ‘needs of the customer’ when you write the story, you’re just left with a girl’s manga. (laughs) It’s like, if you do that, you’re only writing to entertain girls, and that’s just wrong.

Oda writes for his target demographic, pre-teen and teenage boys. He doesn’t seem to care much for the opinions of his female audience, which again could be perceived as sexist.

And to an extent maybe it is, but I also think it’s smart. You only have to look at the mess that is the new Star Wars trilogy to see what happens when a storyteller tries to appease a fan base. The end result is that everyone goes home from the theatre miserable.

Humanity has been telling stories since time immemorial. They’re so ingrained into into the collective psyche that we have developed certain metanarriatives, types, and archetypes that have in turn been refined and distilled and applied to certain types of stories meant for certain types of people. The “rules” for telling a “boy’s story” are different than the “rules” for telling a “girl’s story”, just like I would not expect a romance to be told in the same way as one of Shonen Jump’s battle manga.

Incidentally, this is part of the reason why I think many romances in shonen fall flat. Stories best suited for fighting, camaraderie, coming of age, and growing into the best version of yourself are forced to try to include tropes and story beats that just don’t fit, and the end result is often just...bad.

And, yes, these rules are arbitrary. They can and do change. Just look at shonen battle manga of the 80s vs the titles that were popular when One Piece started in the 90s vs what’s running today. The fact that Oda maintained an audience for over two decades while writing for a demographic that ages out every few years is nothing short of incredible. He clearly has a pulse on what his audience wants while maintaining a clear vision for the direction he wants One Piece to go.

Nor is this an individual effort. Oda works with his assistants and editors when it comes to making these decisions. It’s impossible to say how much he’s been influenced by these other voices, both in the past and now, even if he is ultimately the person responsible for what does and does not get put to paper.

What’s more, society changes. What is considered sexist now would not be thought of as such a generation ago. Our descendants will shake their heads at all the crazy, backward, terrible things we think are normative, and that’s not even taking into consideration differences in culture that not only exist between generations, but nations. America is going to have different ideas of what is and isn’t appropriate behavior than Japan, which undoubtably influences Oda’s sense of humor, which in turn influences the sorts of gags he puts into his comic.

I want to walk a fine line here, because I think there are objective standards that people should be held to regarding sexism while also acknowledging that getting people to agree to those standards are is impossible. If people truly feel as strongly about Oda’s character design and fan service as they make it seem online, then by all means comment on it. It’s not going to change Oda’s mind, but maybe with increased awareness the next generation of storytellers will be better.

At the same time, I think that the indignant masses need to take a deep, hard look at what they’re calling sexism. Are you really going to claim, as I’ve seen, that all fan service is sexist? Are you really going to say that Robin and Nami are weak characters because they don’t get fights? Are you really going to say that Oda’s the most sexist mangaka out there, using, Fairy Tale as an example of female characters done right?

Because if you are, you’re setting yourself up to be thought as just as vapid and uniformed as those who are only reading for tits and ass. There are legitimate criticisms to be had, but just because you don’t like a thing doesn’t mean it’s bad storytelling. Just because Oda puts something out there that you don’t approve of doesn’t make it sexist. Audiences need to be better at thinking critically about the media they consume and learn to look past the sensationalism of click bait articles to truly explore the issues at hand.

This is getting long again, so I think I’m going to split this into another post where I’ll dive into some specific examples within the series itself. Once again, thank you for your time. I promise I’ll wrap this up soon and move onto other, hopefully more positive, things.

#long post #one piece #things like this make me realize why I'm so bad at twitter #I am literally incapable of being concise #sexism #sarc talks

214 notes · View notes

thehuntyhunties · 4 years

Note

Do you think the Killugon subtext is intentional or are people just imposing western views of friendship on JPN manga (like Naruto and Tokyo Ghoul fandoms making queerbaiting accusations against their mangakas for example)?

oh a fantastic question!!!! I’ll happily share my thoughts on this but bear in mind that i’m in no way an expert, and I haven’t studied this area enough to have a true grasp on Japanese culture or media tropes. My opinions come from what other thoughtful people in the Western fanbase have said and my own perspective as a a Western consumer of this work.

short answer: yes, i think there IS a degree of romantic subtext around Gon and Killua’s relationship, and yes, we can take it as intentional.

The longer and more complicated answer:

The TL;DR of it is: Togashi is a very intentional storyteller.

There’s very little Togashi does in his work that doesn’t have layers of meaning to it. I’m not saying that to sound deep or to make his manga sound overly complex! I’m saying it because one of the things I admire about Togashi’s writing is that he manages to take totally outlandish fictional situations and settings and weave in all the complexity and nuance of real life. His characters have facets and subtext, he loves to play with morality, and he uses a lot of symbolism to add meaning. It makes his stories very rich, but it can also be hard to fully understand, especially for those of us coming to it from outside Japanese culture/language.

I’d say there’s limits to what we can conclude from HxH’s canon alone, regardless of our context. I tried getting at it last year, the idea a lot of the queerness we can read in HxH is ultimately meta interpretation, not strictly canon certainty. On the one hand I think we should keep that in mind as we engage, but on the other hand I don’t think that means it’s wrong to read deeply into the text, even if we do so knowing that our perspectives may be skewed!

No matter what, the one thing I feel anyone can confidently say about Gon and Killua’s dynamic that puts them above most other shounen examples is that they very clearly and genuinely care about each other, whether you read it as platonic OR romantic care. It’s never laughed off with nervous no-homo gags, it’s never made into a joke. For much of HxH, the relationship between them IS the driving force and the emotional core of the story, and Togashi doesn’t shy away from that the way many authors would. I’d like to think he’s intentionally taking the Key Shounen Friendship trope and running with it, letting it play out in a logical and natural way that states very clearly that they ARE among the most important people in each other’s lives, but obviously I can’t actually know what his intentions are.

Then we come to Killua in particular. A lot of people smarter and more learned in this area than me have talked before about the ways that Togashi hints at Killua having romantic feelings for Gon, especially through material in the Chimera Ants arc. @hunterxhell in particular has written SO much good meta about this: Killua’s “lovers’ suicide” line, his fears & doubts during the palace invasion (twice!), the nature of his feelings for Gon, and so much more that I apparently haven’t reblogged, and i’m going to fix that immediately. Plus this conversation here about how the conditions of Nanika’s powers in the Election arc frame Gon as Killua’s most important person, most likely romantically.

olivemeister has also written about the significance of Killua’s birthday in the context of Tanabata (i’m not tagging him because he’s not into HxH anymore, please don’t bother him I don’t want him to be bothered ;-; )

Out of all the meta about Killua having queer aspects or there being queer/romantic elements in Gon and Killua’s relationship, I’m linking to these because they’re ultimately rooted in the material itself – often the deeper implications of the very language of the manga and Togashi’s very specific word choices, which the majority of us lose by reading a translation, or his cultural references, which we lose by not having that context. It’s still being conveyed by fans participating in a largely Western community, but I would argue that with this approach there is less of a risk of Western fans unintentionally imposing their Western values on the material, if that’s what you’re worried about (and it’s a valid worry to have – it’s very easy for Western fans to forget that Japan is an entirely different place with very different tropes and contexts for media. See: Tumblr 2013 when everyone and their grandmother was arguing about whether Kill La Kill was valid feminism or sexist anti-feminism according only to Western feminist ideals and completely ignoring that Japan has its own feminist movement with its own goals and values. It was exhausting to witness). And hunterxhell especially has spent time in Japanese fan forums as well, if I’m not mistaken, in order to see what fans who have a fuller context for interpreting HxH are saying about it.

Finally: Togashi has written queer characters before. I have a Japanese friend who grew up watching Yu Yu Hakusho and has adamantly loved Kurama and Miyuki his whole life because they were the first characters he saw in mainstream media (SHOUNEN mainstream media!!) who reflected who he is without being gross, demeaning caricatures (And case in point about my lack of understanding vis a vis Japanese media tropes: The subtext for Kurama that firmly established his gayness for my friend flies right over my head, because I’m an American who first watched YYH in 2017). This same friend has also explained to me that Japan is, in his own words “roughly 20 years behind where the US is with regards to queer issues.” So – this is a major simplification, but I’m paraphrasing how Hira put it for me – when you read/watch YYH today, you’re essentially looking at whatever queer subtext Togashi could get past his editors in the equivalent of over 50 years ago in American media/culture (AGAIN I’M USING A HUGE OVERSIMPLIFICATION).

Given that HxH started in the 90s, I think we can assume the situation is similar to what Hira described to me. Togashi had enough clout as an author by that point to mostly get the editors and censors off his back, but he still had/has to write from a cultural framework that isn’t as comfortable with visible queerness as Western readers have come to expect, depending on where we live and how we grew up and what we’ve seen in our own media landscapes (STILL ME OVERSIMPLIFYING FOR THE SAKE OF CONVEYING THE CONCEPT, i am not a cultural scholar by any means, i’m merely a librarian/information professional who majored in geology as an undergrad).

So, can we trust Togashi’s intentions for HxH and the implications for Gon and Killua’s friendship? Can we presume to know his intentions at all?

I think it’s good to be gently wary of authors’ intentions, and avoid giving them more credit than they deserve. I gave 5 of my formative years to Naruto and all I have to show for it is the conviction that Kishimoto is a fucking boring-ass coward. But for HxH, I think Togashi’s work demonstrates his dedication as a storyteller. He’s very intentional about what he creates... and, I would say, his creation definitely includes the fact that Gon and Killua love each other very much. What that love looks like, though, is entirely up to you as the consumer in the end – that’s the joy of media.

#to be a hxh fan is to basically collect the weeb equivalent talmud #we're all rabbis bickering about what EXACTLY this phrasing or this incident is supposed to mean for us today #Hunter X Hunter #hxh #hxh meta #my post #Anonface #asks #this is probably the longest thing i've ever written on this blog please prepare yourself #also i tried to cite my sources but i first got into hxh 5 years ago so i'm sure there's ideas i've picked up that i can't trace

80 notes · View notes